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1

Alicja w Krainie Kognitywistyki

100%

Rogulska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 23

253-261

EN

The article comments on the ninth Polish translation of Lewis Carroll’s Alice in Wonderland, by Elżbieta Tabakowska. As the key to the analysis of this translation, the present author has chosen the relations between the text and image, especially the illustrations by sir John Tenniel and Tove Jansson. As opposed to previous translators or Alice in Wonderland, Tabakowska’s attempts to modernise the book to make it more accessible for 20th-century readers, and more compatible with 20th-century illustrations. In the edition discussed here, it is actually possible to discern two translations, translation proper and and an intersemiotic one, because illustrations by the author of Moomin books introduce connotations which would be totally alien to 19th-century girls. Through analysis of specific translation choices, the article underlines the strengths of the newest translation, such as its competent Polish, the wealth of Polish contexts, the educational role of exoticisation, and the retained principle of double reception. The article, however, also points out to certain weaknesses of the translation. Anna Rogulska also notices that, because the represented world is deeply rooted in the culture of Victorian England, the text cannot by fully rendered in the 21st century. Another interpretative key for the reading of the newest Polish edition of Carroll’s book is cognitive linguistics, which is the academic specialisation of the translator. The article demonstrates that the function of the new translation was not only a contribution to the long series of Polish renditions of Alice in Wonderland, but also a practical application of cognitive science in literature, which makes the translation valuable not only for children’s literature, but also for scientific inquiry.

2

Alice in the Land of Movies

88%

Ismajloska M.

Libri & Liberi

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2014

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vol. Volume 3

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issue No.2

311-318

EN

The paper focuses on Tim Burton’s movie adaptation of the Alice books by Lewis Carroll. The distinction between the magical and the fantastic, and the miraculous and the wonderful that is resolved within the movie Alice in Wonderland (2010), carried within the infant nature present in Tim Burton’s grown-up Alice, redefines the standpoints of the fantastic, making child’s fantasy a literary-screen reality. In both cases, the frames of the fantastic, starting from a hint of the fictional and the wonderful, make a crossover towards the miraculous. According to Roger Caillois (1972), the fantastic expresses a scandal, a break, a strange, almost unbearable, penetration into the real world, and with its penetrations of the other side into the real world, it transforms itself into a poetics of the miraculous.

HR

Analizira se uradak Tima Burtona, filmska adaptacija knjiga o Alici Lewisa Carrolla. Razlikovanje čarobnoga i fantastičnoga, kao i čudotvornoga i čudesnoga koje se razrješuje u samome filmu Alice in Wonderland (2010), sadržano u dječjoj naravi odrasle Alice Tima Burtona, redefinira polazišta fantastičnoga, čineći dječju fantastiku književno-filmskom stvarnošću. I u književnoj i u filmskoj pripovijedi okviri fantastičnoga, polazeći od naznaka fikcionalnoga i čudesnoga, čine prijelaz prema čudotvornome. Prema Rogeru Cailloisu (1972), fantastično izražava skandal, raskid, čudno, gotovo nepodnošljivo prodiranje u stvarni svijet, a u tome prodiranju druge strane u stvarni svijet on se preobražava u poetiku čudotvornoga.

DE

Im Beitrag wird Tim Bartons Verfilmung von Lewis Carrolls Alice-Büchern besprochen. Die im Film Alice in Wonderland (2010) aufgelöste und in der Kindernatur von Bartons erwachsenen Alice enthaltene Unterscheidung zwischen dem Magischen und dem Fantastischen, dem Wunderbarem und dem Wundersamen, bestimmt aufs Neue die Standpunkte des Fantastischen, weil im Film die Kinderfantasie in literarisch-filmische Wirklichkeit verwandelt wird. In beiden Medien bilden die Rahmen des Fantastischen den Übergang zum Wunderbaren, indem sie die Spuren des Fiktionalen und des Wundersamen verfolgen. Laut Roger Caillois (1972) drückt das Fantastische einen Skandal aus, einen Bruch, ein befremdendes, beinah nicht auszuhaltendes Vordringen in die wirkliche Welt, wobei dann durch das Vordringen der anderen Seite in die wirkliche Welt diese zur Poetik des Wunderbaren umgewandelt wird.

3

Translation in film. Film ‘in translation’ Tim Burton’s Alice in Wonderland, 2010.

87%

Grodź I.

Glottodidactica

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2016

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vol. 43

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issue 1

179-203

EN

The article describes fundamental issues relating to translation problems in the art of moving images (base perspective): subtitles, voiceover in the film, dubbing. It also presents the method of translation of the spoken (dialogues, monologues) and written word (poetry, prose) in selected audiovisual material, Alice in Wonderland by Tim Burton (2010).

4

Dla jakich dzieci Alicja? Alicja dla dzieci kwiatów! Muzyczne przetworzenia Alicji w Krainie Czarów przez kontrkulturę lat sześćdziesiątych

82%

Koćma K.

Porównania

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2016

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vol. 19

183-199

EN

The paper presents musical development of Alice in Wonderland by Lewis Carroll from a perspective of the counterculture of the 60s. The authoress shows how the existence of psychodelia in arts and culture of that decade made Carroll’s work a kind of record of the so called “trip”. Trying to analyze what happens to the lyrics’ protagonists, for example Alice, Mad Hatter, Caterpillar or White Rabbit, the authoress indicates the transformations of them in songs of The Beatles, Jefferson Airplane, The Incredible String Band, The Monkees or Tom Northcott. The lyrics were divided into three parts: The Alice Who Knows, The Alice Who Is Gone and The Wonderland’s Inhabitants

PL

Niniejszy artykuł przedstawia muzyczne przetworzenia Alicji w Krainie Czarów Lewisa Carrolla przez kontrkulturę lat 60. Autorka pokazuje, jak psychodelia w sztuce i kulturze tamtego okresu sprawiła, że utwór zaczął być postrzegany jako zapis doświadczenia narkotycznego. Analizując, co w tekstach piosenek dzieje się z takimi bohaterami, jak – na przykład Alicja, Szalony Kapelusznik, Pan Gąsienica czy Biały Królik, autorka wskazuje na transformacje, jakiej uległy postaci w piosenkach The Beatles, Jefferson Airplane, The Incredible String Band, The Monkees czy Toma Northcotta. Piosenki podzielono na trzy części: Alicja – Ta, Która Wie, Alicja – Ta, Której Nie Ma i Mieszkańcy Krainy Czarów.

5

Nieznane oblicze Kusamy Yayoi – japońskiej artystki i pisarki

72%

Pachciarek P.

Porównania

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2016

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vol. 18

321-337

EN

Even though the interest in Yayoi Kusama has been growing since the end of the last century, there are still undiscovered aspects of her works which are addressed in this paper. I try to show how her works from the early period can be interpreted in the context of tradition and the key assumptions of Japanese art. I proceed to discuss the literary output of the artist which now seems to go unnoticed by a wider audience. To conclude, I will answer the question of what brings together the experiences of Kusama and the story of Alice in Wonderland.

PL

Mimo zapoczątkowanego pod koniec XX w., wciąż rosnącego zainteresowania krytyków działaniami Kusamy Yayoi, nazywanego „Renesansem Kusamy”, bogactwo jej dokonań bywa niejednokrotnie redukowane do kilku charakterystycznych dla jej późniejszej twórczości motywów, takich jak kropki, czy gigantyczne rzeźby dyń. Zapomina się przy tym choćby o pracach z jej wczesnego okresu, które mogą stanowić klucz do odczytania jej późniejszych dzieł. Nie inaczej jest w przypadku literackiej twórczości Kusamy. To właśnie poprzez literaturę, niemal zupełnie nieznaną poza granicami jej ojczyzny, Kusama jest w stanie odsłonić zupełnie nowy aspekt swojego uniwersum. Na zakończenie artykułu, zostanie podjęta próba odpowiedzi na pytanie, co łączy Kusamę z Alicją z Krainy Czarów.

6

THE CHRONOTOPE OF LOVE EXPLORED THROUGH ORHAN PAMUK’S THE MUSEUM OF INNOCENCE

44%

Vaso K.

Świat Tekstów. Rocznik Słupski

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2018

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vol. 16

139-148

EN

Through Orhan Pamuk’s novel, The Museum of Innocence, and Mikhail Bakhtin theory on the chronotope, specifically the idyllic chronotope, the article explores the specific chronotope of love which possesses a dual nature, both specific and timeless. Like all lovers, the novel’s protagonists, Füsün and Kemal belong simultaneously to the particu-lar place and time of their circumstances and the intimate world they create which tem-porarily transcends the boundaries of space and time. This private world echoes that of Adam and Eve, one suspended between the innocence and isolation of a private world and the looming threat of the real world’s interference. This dynamic between the place-less and time-less world of two and its existence within a specific place and time is espe-cially palpable in Orhan Pamuk’s novel, the very premise of which rests on the preserva-tion of a specific temporal period through artefacts, here belonging to Füsün, Kemal’s love. The eponymous museum refers to Kemal’s obsessive gathering and conservation of any item that belongs to her. The meetings of the lovers are dated with a historian’s precision and placed in the exact spot of Istanbul, the author’s beloved city. Kemal and Füsün could be Adam and Eve or any other literary couple following in their footsteps, yet their isolated world is interrupted by the noises, light and smells belonging to Istanbul alone. This specific chronotope belonging to love echoes Peter Pan’s island or Alice’s wonderland but the adult version of this private universe cannot be quite as separate from the real world. The latter can only partially escape and remains halfway trapped in its exact coordinates and time zone. My article ventures the thesis that the children’s and adult’s versions represent a similar effort to create a world of innocence and freedom though to a lesser degree in the second case.

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2 Porównania

1 Glottodidactica

1 Libri & Liberi

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Świat Tekstów. Rocznik Słupski

1 Grodź I.

1 Ismajloska M.

1 Koćma K.

1 Pachciarek P.

1 Rogulska A.

1 Vaso K.

1 2019

3 2016

2 2014

Alicja w Krainie Kognitywistyki

Alice in the Land of Movies

Translation in film. Film ‘in translation’ Tim Burton’s Alice in Wonderland, 2010.

Dla jakich dzieci Alicja? Alicja dla dzieci kwiatów! Muzyczne przetworzenia Alicji w Krainie Czarów przez kontrkulturę lat sześćdziesiątych

Nieznane oblicze Kusamy Yayoi – japońskiej artystki i pisarki

THE CHRONOTOPE OF LOVE EXPLORED THROUGH ORHAN PAMUK’S THE MUSEUM OF INNOCENCE